From Japan to Saudi Arabia, teamLab Borderless promises immersive experience in Jeddah
Updated 02 June 2024
Dalal Awienat
DUBAI: From the heart of Tokyo to Jeddah’s Historic District, teamLab Borderless museum is set to open its doors in Saudi Arabia on June 10.
Arab News spoke to teamLab Borderless founder Toshiyuki Inoko ahead of the opening to learn more about his hopes for the new space.
Flutter of Butterflies Beyond Borders in Layered Ultrasubjective Space-1 will be on show. (Supplied)
Inoko said the newest location in Jeddah, the first outpost in the Middle East, will feature more than 80 artworks.
“Each one of (the) artworks are not independently displayed but they are interrelated and they influence each other … our artwork is fluid and has no borders, hence the name borderless,” Inoko said.
The Jeddah museum features four main sections: Athletics Forest, Future Park, Forest of Lamps and EN TEA HOUSE.
The space boasts immersive artworks. (Supplied)
“Once you enter our doors, you walk through a world that is changing endlessly. As you explore further, you enjoy the process of transformation through the artwork,” he explained.
As for its location, Inoko commented that Jeddah’s past is a key factor in why the city is the ideal location for teamLabs Borderless.
“Jeddah is strongly historical and it is rare to see and touch traces of history and Jeddah is one of those rare places where this happens. We think it's going to be very meaningful for people to create a modern experience in such a strong historical context. We hope to capture the journey between the past and the future,” he said.
Golden Sand 02. (Supplied)
Inoko hopes that visitors will enjoy the immersive aspect of the museum.
“At our museum, you as a visitor have the power to influence the art with your physical body … we are hoping to challenge the notion of beauty by showing how it can be everchanging and we hope it can also influence the way people look at the world,” he said.
KARACHI: Thousands of men, women and children, both Hindus and Muslims, gathered on Friday at the 234-year-old Shri Swaminarayan temple in the southern Pakistani port city of Karachi to celebrate one of the biggest Hindu festivals, Diwali.
Diwali honors the victorious return of Lord Rama, one of Hinduism’s most revered figures, from exile and was celebrated in various parts of the world either on Thursday or Friday.
It is also known as the festival of lights to symbolize the triumph of light over darkness, or good over evil, explaining why fireworks are so central to the Diwali celebrations.
The Swaminarayan temple, situated in the Serai Quarters area, is not only frequented by Hindus living in the neighborhood, but members of the community from elsewhere in the bustling megapolis too.
“Diwali is a festival of happiness, a festival of lights. Our lord Rama returned to Ayodhya after 14 years in exile. His wife Sita and his [younger] brother Laxman were also with him, who stood by him,” Hansa Rani, an academic, told Arab News, lighting up small oil lamps, called ‘diyas,’ to welcome their Lord.
“We celebrate their return with happiness [on Diwali], wear new clothes, distribute sweets and make rangoli [in which] we decorate our floor with colors.”
A Hindu woman and a young girl hold clay-lamps during a ceremony to celebrate Diwali, the festival of lights, at Somi Narin temple, in Karachi on November 1, 2024. (AP)
One of the most prominent Hindu festivals, Diwali is celebrated across the globe wherever the community resides. Devotees light up their homes and workplaces to signify light over darkness.
The festivities span over the course of five days, starting with ‘Dhanteras,’ that marks the first day of Diwali, followed by ‘Naraka Chaturdashi’ [Choti Diwali], Diwali, ‘Govardhan Puja’ and Bhai Dooj. Each day has different rituals and significance.
Pakistani Hindu women celebrate 'Diwali', the festival of lights, at the Krishna Temple in Lahore on November 1, 2024. (AFP)
“We are here to celebrate Diwali. As you can see, how happy these people are. There is one festival in the entire year during which we have mithai (sweetmeats), worship, light diyas, and meet our relatives,” Gauri Dara, who was at the temple with her family, told Arab News, on the sidelines of the celebrations.
“On this day, our cousins from other cities come to meet us too. We celebrate Diwali together.”
Children light firecrackers during 'Diwali' festival celebrations in Karachi on November 1, 2024. (AFP)
Muslims, who attended the celebrations at the Swaminarayan temple, said they had come to stand in solidarity with their Hindu brothers and sisters and share their happiness on the joyous occasion.
“[Despite] being a Muslim, I come here every year since the past 10 years in fact. I love the fact that we get to celebrate Diwali with our Hindu community every year because I have a lot of Hindu friends in Pakistan,” Qasim Shafique, a senior television news producer, told Arab News.
“Our flag also represents [minorities]. The white part in the [Pakistani] flag is for minorities. So, I come to celebrate that every year. I’ll meet all my Hindu friends here and we will enjoy the festivities together.”
Hia Hub session highlights vital role of pharmacies in Saudi Arabia’s growing skincare market
Updated 02 November 2024
Rahaf Jambi
RIYADH: Industry leaders discussed the evolving role of pharmacies in skincare during a session at Hia Hub, Saudi Arabia’s fashion, beauty and lifestyle conference, held in Riyadh’s JAX District from Oct. 30 to Nov. 3.
The session, titled “Re-Defining the Pharmacy Channels in Skincare,” brought together prominent figures, including Charlotte Devaux, general manager of wellness and masstige, Pierre Juhen, group president of Patyka, Mahmoud Mamdouh, CEO of Whites Pharmacy, and Cynthia Kattar, editorial director of Hia Magazine.
Mamdouh emphasized the pivotal role of trust in pharmacy skincare. He said: “When discussing pharmacies and skincare, the main concept is trust.”
(AN/ Huda Bashatah)
Over the past 15 years, pharmacies have cultivated strong relationships with customers, who often turn to pharmacists for personalized skincare consultations, he said.
Devaux added to the discussion by highlighting social media’s impact on consumer behavior.
(AN/ Huda Bashatah)
She said that while platforms such as TikTok and Instagram offered abundant information, consumers still preferred advice from trusted pharmacists. “Wellness has become a priority for consumers, driving the growth of skincare,” she said. “This reliance on pharmacies as credible sources of information and products is crucial in a marketplace filled with conflicting messages.”
Juhen elaborated on the expansive reach of pharmacies. In Saudi Arabia, there are about 6,000 pharmacy locations, compared to 20,000 in France, he said.
(AN/ Huda Bashatah)
He said that this dynamic retail channel had shown resilience, even during challenges such as the COVID-19 pandemic, where the pharmacy segment in France experienced growth of 4 percent.
Juhen highlighted the universal appeal of pharmacies and said: “Everyone visits pharmacies, regardless of age or socioeconomic status,” making them essential points of contact in the community.
The session concluded with a consensus among the speakers on the importance of pharmacies in the skincare sector. As trusted providers of personalized advice and quality products, pharmacies were well-positioned to lead the growth of skincare, they said.
Looking great: Skincare in the spotlight at Hia Hub
Updated 01 November 2024
Hams Saleh
DUBAI: Hia Hub, Saudi Arabia’s conference for fashion, beauty and lifestyle, returned this week for its fourth edition in Riyadh’s JAX district, featuring discussions, masterclasses, workshops, interactive exhibitions and live performances.
Among the highlights were several appearances by Patrick Chalhoub, president of Chalhoub Group, where he and the guest speakers discussed the latest developments in the skincare industry as part of “The Skincare Edition: Unfiltered” summit.
“The whole idea of the summit is to take our visitors — be it professionals, skincare lovers, or customers who don’t have enough knowledge — through different experiences,” Chalhoub told Arab News ahead of the event.
“They get to diagnose their skin, so they know which areas to focus on, but in a playful way, where people come and engage in all these different experiences, each one brought by a different brand. They’ll learn more in a non-commercial way, almost like a discovery game.”
Speaking about the skincare landscape in Saudi Arabia and the Gulf region, Chalhoub said he had noticed different trends among younger and older consumers.
“The more mature group, I would say, tends to be quite traditional in their skincare habits. They prefer brands they know and trust more than anything,” he said.
“Although mature women are the ones who might benefit more from extensive skincare routines, they tend to use fewer products that target specific needs.”
By comparison, people under 30, including men, were “much more conscious of their wellness,” Chalhoub said.
“They use skincare products more frequently and are willing to experiment with innovative products, even with brands that are not necessarily very popular.
“They read more. They are more curious and adventurous, which is why South Korean and Japanese brands, even though they’re not that well known here yet, are making a strong impact in the region.
“Asia has such a big skincare market, with a lot of laboratory research,” he said.
Chalhoub also discussed how climate and culture can influence people’s skincare habits.
“For example, in the Gulf region in general and Saudi Arabia in particular, we know the sun here is very strong. So, sunscreen and products that protect against sun-related damage are essential here.”
People also used more moisturizers to ease the irritation of sun-dried skin, he said.
Chalhoub said that while he believed an era of homegrown skincare products could be on the horizon, it was not an easy industry to break into.
“There is a certain level of research and professionalism required in order to be able to do it,” he said.
“It’s not just about creating packaging and making it attractive, you really need to make sure that the product contains high-quality ingredients. Entering the skincare market will always be more complex.”
Displaced Gazan artists’ work on display in ‘Under Fire’
An exhibition in Amman shows works smuggled out of Gaza during the ongoing Israeli assault
Updated 01 November 2024
Rawaa Talass
DUBAI: A couple tenderly embracing each other; a family gathering; a flowering cactus; and a sunset colored in pink, yellow and orange. Such imagery represents some of the delicate drawings produced by four displaced Gazan artists, whose works are currently being showcased at Darat Al-Funun, an art center in Amman.
Other images on display make for less comfortable viewing: exhausted people with missing limbs; men kneeling blindfolded in their underwear; women and children whose eyes are wide with terror.
“Under Fire,” which runs until the end of the year, consists of around 80 artworks by Palestinian artists Basel Al-Maqousi, Majed Shala, Raed Issa and Sohail Salem. All four have been forced from their homes due to the ongoing Israeli assault on the Gaza strip, which began in October 2023.
A piece by Basel Al-Maqousi from the series 'I Draw with Love, not with War.' (Supplied)
For the exhibition’s curator, Mohammad Shaqdih, receiving the artists’ highly-charged artworks proved to be a cathartic experience. “I was following their work on social media, but when (the pieces) reached Amman and I held them in my hands, I cried at first, to be honest,” Shaqdih tells Arab News. “I was in a state of sadness and I don’t know why. While I was looking through them, I would take a drawing and then quickly put it away. There’s so much death, sadness and blood in these works. At the same time, they embody a form of resilience and resistance. They have life.”
Organizing any art exhibition comes with its own set of challenges, but planning “Under Fire” was exceptionally difficult. According to Shaqdih, communicating with the artists through messaging applications and having their works transported across the border were the main issues faced by the curatorial team.
Raed Issa, 'Friends.' (Supplied)
In May and June 2024, around 100 artworks were taken from Gaza to Egypt. In early October, the works reached Jordan. “These works were passing through some conditions that were dangerous. Some of works were damaged or torn apart,” explains Shaqdih. “It was an adventure taking these works out of Gaza, but, thank God, they reached us.”
The surviving artworks — predominantly sketches and line drawings — were created, by necessity, using the most basic of materials. Raed Issa, for instance, created his figurative images on medical aid packages using tea as a coloring base. Sohail Salem drew intensely-lined pen drawings in school notebooks provided by the UN Relief and Works Agency.
Al-Maqousi is showcasing a series of drawings of daily life in crowded camps. “He said: ‘These works are not paintings or works of art for people to see or buy. They are a part of our bodies,’” Shaqdih says.
Sohail Salem, 'Tala Abu Ajwa, Girl Skater.' (Supplied)
Thematically, the artworks — which are being sold to benefit the artists — are simple and touching. They evoke despair, loss and confusion, but there are elements of hope, love and beauty. One of Issa’s images of two young individuals, depicted with unclear features, is slightly enlivened by the red flowers they hold in their hands.
“When you read the artists’ incredible accompanying statements, they’re full of human feelings,” Shaqdih says. “What they’re saying is that despite everything they’re going through with this genocide, they are still standing strong and resisting even if it’s through the act of drawing the daily massacres. They’re still able to work and express their existence as human beings under all the ugliness in this world. It’s a form of resistance and resilience.”
Majed Shala, born in Gaza in 1960, is one of the exhibition’s participants. His works in “Under Fire” depict personal memories, scenes of nature, and life under bombardment.
Shala’s home and studio were destroyed more than a year ago and he lost all of his artworks. “Under the sound of nonstop bombing, we were (told) to leave our area. We didn’t know where to go,” he tells Arab News. Shala is currently in Deir Al-Balah in central Gaza, where, he says, “the situation is continuously difficult. There is no safety and there are no essential supplies.”
On a positive note, he says he feels a sense of pride at having his sketches on display in Amman, a city he loves and where he has many friends.
“I hope that the world stands by those who have the rights, who own the land,” says Shala, “and doesn’t simply watch indifferently from a distance.”
Saudi designer Nouf Al-Rashed launches latest collection in London
Updated 01 November 2024
Shyama Krishna Kumar
RIYADH: Narma, the label founded by Saudi designer Nouf Al-Rashed, showcased its inaugural collection, titled Agal, in London this month.
The womenswear line features the black cord of the agal — the Arab men’s clothing accessory that keeps the ghutrah in place — as a central theme throughout each piece.
“The Agal collection is inspired by the rich heritage of the Middle East, particularly the agal, a symbol of honor, pride, and identity,” Al-Rashed told Arab News. “By reimagining this traditional piece, we are blending the past with the present, offering modern fashion that pays homage to our roots while embracing a contemporary, global aesthetic.
The designs prioritize inclusivity and accessibility, moving away from traditional gendered pieces. (Supplied)
“While we are not exclusively a womenswear line, in the context of the agal we do feel drawn to highlight it most,” she continued. “Our womenswear line seeks to empower women with designs that are not only luxurious and beautifully crafted but also deeply connected to a meaningful narrative. It’s about sharing heritage and offering elegant pieces with character. Moreover, the collection is a blend of heritages, a concept that resonates deeply with the Narma brand.”
The designs prioritize inclusivity and accessibility, moving away from traditional gendered pieces, she explained.
“In this collection, the agal — a traditional male accessory — has been transformed into a bold and symbolic design element. As women were traditionally excluded from the Agal, we wanted to bring in the idea of a woman’s crown. We aimed to share this symbol of honor with a female audience, making it more inclusive and accessible to all,” said Al-Rashed.
Saudi designer Nouf Al-Rashed is the founder of Narma. (Supplied)
Sustainability is also a core principle for Al-Rashed, who is dedicated to crafting durable, ethically-produced ensembles.
“We use eco-certified fabrics to ensure our materials are responsibly sourced. We also upcycle dead stock fabrics, minimizing waste and promoting circularity in fashion,” she said. “We work with partners who follow fair labor practices and prioritize minimizing environmental impact. Our designs are optimized to eliminate fabric waste, and we embrace a slow-fashion approach, producing just one carefully curated collection each year. By releasing limited editions, we avoid overproduction and remain true to our sustainable values.”
While the inaugural showing of the Agal collection was in London, Al-Rashed plans to bring it to the Kingdom before the end of the year. (Supplied)
Al-Rashed also revealed the deep influence that her parents have had on her career. Her mother May Aljabr's philanthropic efforts with the Saudi Cancer Foundation, along with her father Rashed Al-Rashed's achievements in the world of business, have inspired her to make a meaningful impact in her own right, she said.
While the inaugural showing of the Agal collection was in London, Al-Rashed plans to bring it to the Kingdom before the end of the year.
“Although the inspiration for the Agal collection is deeply rooted in Middle Eastern culture, the idea and the brand of Narma were born in London. It felt natural to launch the collection here, in the city that shaped so much of our creative journey. Soon in Riyadh, we will be bringing Narma back to the culture that inspired the collection.
“We hope to evoke in all audiences the same sense of playfulness, curiosity, imagination, and lightness that we felt while bringing this collection to life.”
